Telling Public Radio's Story
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Radio and Television Correspondents' Galleries
RADIO AND TELEVISION CORRESPONDENTS’ GALLERIES* SENATE RADIO AND TELEVISION GALLERY The Capitol, Room S–325, 224–6421 Director.—Michael Mastrian Deputy Director.—Jane Ruyle Senior Media Coordinator.—Michael Lawrence Media Coordinator.—Sara Robertson HOUSE RADIO AND TELEVISION GALLERY The Capitol, Room H–321, 225–5214 Director.—Tina Tate Deputy Director.—Olga Ramirez Kornacki Assistant for Administrative Operations.—Gail Davis Assistant for Technical Operations.—Andy Elias Assistants: Gerald Rupert, Kimberly Oates EXECUTIVE COMMITTEE OF THE RADIO AND TELEVISION CORRESPONDENTS’ GALLERIES Joe Johns, NBC News, Chair Jerry Bodlander, Associated Press Radio Bob Fuss, CBS News Edward O’Keefe, ABC News Dave McConnell, WTOP Radio Richard Tillery, The Washington Bureau David Wellna, NPR News RULES GOVERNING RADIO AND TELEVISION CORRESPONDENTS’ GALLERIES 1. Persons desiring admission to the Radio and Television Galleries of Congress shall make application to the Speaker, as required by Rule 34 of the House of Representatives, as amended, and to the Committee on Rules and Administration of the Senate, as required by Rule 33, as amended, for the regulation of Senate wing of the Capitol. Applicants shall state in writing the names of all radio stations, television stations, systems, or news-gathering organizations by which they are employed and what other occupation or employment they may have, if any. Applicants shall further declare that they are not engaged in the prosecution of claims or the promotion of legislation pending before Congress, the Departments, or the independent agencies, and that they will not become so employed without resigning from the galleries. They shall further declare that they are not employed in any legislative or executive department or independent agency of the Government, or by any foreign government or representative thereof; that they are not engaged in any lobbying activities; that they *Information is based on data furnished and edited by each respective gallery. -
As General Managers of Public Radio Stations That Serve Millions of Americans in Communities Large and Small, Urban and Rural And;
As General Managers of Public Radio stations that serve millions of Americans in communities large and small, urban and rural and; As Producers of local, regional and national content aired by stations throughout the nation committed to telling the evolving story of America, its proud history, and its committed citizens; We are writing to express our grave concern regarding the House legislation that would prohibit stations from using any Federal funds to pay for national programming and would eliminate CPB’s Program Fund. By prohibiting the use of Federal funds in any national programming, and in particular, by eliminating the CPB Program Fund, millions of Americans will be deprived of critical national and international news, information and cultural programming that cannot be found elsewhere. Local public radio stations will no longer reliably provide the community information and context so necessary to cities and towns challenged by change and faltering economies. Institutions and projects at risk include: - Radio Bilingüe’s national program service, public radio’s principal source of Latino programming - Koahnik Public Media’ Native Voice 1, public radio’s principal source of Native American programming - Youth Media, the California-based media network of young audio and video producers and a key source of a youth voice in the mass media - The Public Insight Network, American Public media’s expanding project to bring citizen experts into public radio journalism - Independent producers who depend upon the Program Fund for money to support production of series such as StoryCorps and This I Believe - Independent organizations dedicated to innovation, training, and excellence in journalism such as the Public Radio Exchange and the Association of Independents in Radio. -
Report to the Community 2018
LOCAL CONTENT AND SERVICE REPORT TO THE COMMUNITY 2018 connected. connected. ABOUT WCNY WCNY serves 19 counties throughout Central New York, the Finger Lakes, and the Mohawk Valley regions of New York State. Our five TV digital channels, WCNY, Create, GLOBAL CONNECT, WiCkNeY KIDS and How-To (cable-only) channels are available to more than 1.8 million people over-the-air or via cable, fiber and satellite services. WCNY Classic FM is one of the nation’s few remaining locally programmed classical music stations, with expert hosts making all music programming decisions. Classic FM also is an NPR affiliate, offering hourly news broadcasts. In addition to Classic FM, WCNY broadcasts 24-hour jazz and oldies on its Jazz HD and Oldies HD stations. All three stations also are available for online streaming at WCNY.org. WCNY offers a 24/7 ReadOut Radio service for the blind and visually impaired. WCNY’s state-of-the-art LEED Platinum certified Broadcast and Education Center is the gateway to the Near Westside, one of the oldest neighborhoods in Syracuse and home to an eclectic mix of nationalities from around the world. The facility is also a stop on the Connected Corridor, a pedestrian and bicycle-friendly path that links Syracuse University with downtown Syracuse. WCNY’s Mission, Vision, and Values MISSION WCNY connects with the curious of all ages through innovation, creative content, educational programs, and transformative experiences to open minds and spark change. VISION WCNY is a trusted media enterprise, constantly evolving and fully engaged with a diverse audience that shares our passion for public service. -
TAL Distribution Press Release
This American Life Moves to Self-Distribute Program Partners with PRX to Deliver Episodes to Public Radio Stations May 28, 2014 – Chicago. Starting July 1, 2014, Chicago Public Media and Ira Glass will start independently distributing the public radio show This American Life to over 500 public radio stations. Episodes will be delivered to radio stations by PRX, The Public Radio Exchange. Since 1997, the show has been distributed by Public Radio International. “We’re excited and proud to be partners now with PRX,” said Glass. “They’ve been a huge innovative force in public radio, inventing technologies and projects to get people on the air who’d have a much harder time without them. They’re mission- driven, they’re super-capable and apparently they’re pretty good with computers.” “We are huge fans of This American Life and are thrilled to support their move to self-distribution on our platform,” said Jake Shapiro, CEO of PRX. “We’ve had the privilege of working closely with Ira and team to develop This American Life’s successful mobile apps, and are honored to expand our partnership to the flagship broadcast.” This American Life will take over other operations that were previously handled by PRI, including selling underwriting and marketing the show to stations. The marketing and station relations work will return to Marge Ostroushko, who did the job back before This American Life began distribution with PRI. This American Life, produced by Chicago Public Media and hosted by Ira Glass, is heard weekly by 2.2 million people over the radio. -
Immigration Advocate Weighs in on Trump Administration's Move to End Flores Agreement
WAMU 88.5 BBC World Service NEWSCAST DONATE LIVE RADIO SHOWS NATIONAL Immigration Advocate Weighs In On Trump Administration's Move To End Flores Agreement LISTEN · 4:59 PLAYLIST Download Transcript August 21, 2019 · 5:19 PM ET Heard on All Things Considered NPR's Audie Cornish speaks with Wendy Young, president of the child advocacy organization KIND, about President Trump's moves to change requirements for the detention of migrant children. AUDIE CORNISH, HOST: The Trump administration is moving to allow the government to detain migrant families with children indefinitely. The Department of Homeland Security announced today that they plan to publish a new regulation that would eliminate the current 20- day limit on the detention of minors. That 20-day limit stems from a 1997 court settlement called the Flores Agreement that governs conditions for migrant children in federal care. Acting DHS Secretary Kevin McAleenan blamed the Flores Settlement for the influx of hundreds of thousands of migrants at the southern border. (SOUNDBITE OF ARCHIVED RECORDING) KEVIN MCALEENAN: The driving factor for this crisis is weakness in our legal framework for immigration. Human smugglers advertise, and intending migrants know well that even if they cross the border illegally, arriving at our border with a child has meant that they will be released into the United States to wait for court proceedings that could take five years or more. CORNISH: The government is set to publish the final rule on Friday. It will require approval from a federal judge before can go into effect. We're joined now by Wendy Young. -
Npr Fact Sheet
NPR FACT SHEET DATE OF NPR, INC. INCORPORATION February 26, 1970 FIRST SHOW BROADCAST All Things Considered May 3, 1971 DC HEADQUARTERS 1111 North Capitol St. NE, Washington, DC 20002 President and CEO John Lansing AWARD HIGHLIGHTS Number of Employees 10291 Since 1971, NPR and its journalists and programming have won hundreds of awards including 34 Alfred News Division Staff 4401 I. duPont-Columbia University Awards, 62 George Foster Peabody Awards, 81 awards from the White Stations Broadcasting NPR Programming 1,0752 House News Photographers Association, 23 Webby and Newscasts Awards (which includes nine Webby “Peoples’ Voice” NPR Member Stations and Associate 1,0126 awards) and 20 awards from the Overseas Press Club Stations of America. 6 Non-Member Stations Airing NPR 85 ABOUT NPR Programming NPR is a nationally acclaimed, non-profit multimedia Weekly Listeners for all NPR Stations 29.1M3 organization and the leading provider of non- commercial news, information and entertainment Weekly Listeners for NPR Programming and 23.2M3 Newscasts programming to the American public. Launched in 1970 as a radio network by a group of public radio Weekly NPR.org Unique Visitors 17.8M4 stations, today NPR is among the most successful news organizations in America and a growing Weekly Visits to NPR Digital Properties 46.7M5 presence in digital media including podcasting, mobile applications and social media. Weekly Unique Users of NPR Podcasts 14.4M7 Weekly audience across platforms 60M8 INTERNATIONAL BUREAUS (17) DOMESTIC BUREAUS (18) Beijing, China -
Return of Private Foundation CT' 10 201Z '
Return of Private Foundation OMB No 1545-0052 Form 990 -PF or Section 4947(a)(1) Nonexempt Charitable Trust Department of the Treasury Treated as a Private Foundation Internal Revenue Service Note. The foundation may be able to use a copy of this return to satisfy state reporting requirem M11 For calendar year 20 11 or tax year beainnina . 2011. and ending . 20 Name of foundation A Employer Identification number THE PFIZER FOUNDATION, INC. 13-6083839 Number and street (or P 0 box number If mail is not delivered to street address ) Room/suite B Telephone number (see instructions) (212) 733-4250 235 EAST 42ND STREET City or town, state, and ZIP code q C If exemption application is ► pending, check here • • • • • . NEW YORK, NY 10017 G Check all that apply Initial return Initial return of a former public charity D q 1 . Foreign organizations , check here . ► Final return Amended return 2. Foreign organizations meeting the 85% test, check here and attach Address chang e Name change computation . 10. H Check type of organization' X Section 501( exempt private foundation E If private foundation status was terminated Section 4947 ( a)( 1 ) nonexem pt charitable trust Other taxable p rivate foundation q 19 under section 507(b )( 1)(A) , check here . ► Fair market value of all assets at end J Accounting method Cash X Accrual F If the foundation is in a60-month termination of year (from Part Il, col (c), line Other ( specify ) ---- -- ------ ---------- under section 507(b)(1)(B),check here , q 205, 8, 166. 16) ► $ 04 (Part 1, column (d) must be on cash basis) Analysis of Revenue and Expenses (The (d) Disbursements total of amounts in columns (b), (c), and (d) (a) Revenue and (b) Net investment (c) Adjusted net for charitable may not necessanly equal the amounts in expenses per income income Y books purposes C^7 column (a) (see instructions) .) (cash basis only) I Contribution s odt s, grants etc. -
Freelance Journalist Invoice Washington Dc
Freelance Journalist Invoice Washington Dc Calfless and unbreathing Alasdair palsies her witenagemot beefburgers photosensitizes and droops longways. Zymotic and russety Herby manipulates almost theocratically, though Christ scats his mammet unknitted. Looted and emarginate Malcolm never outguess his geebung! What happened to understand what to freelance journalist, where she clerked for Exempts licensed pharmacists from the ABC test. English and psychology from Fairfield University in Connecticut. Doing yet she needed to out put Sherriff on my footing are the year ends. International in five native Toronto and later worked as a reporter and editor for UPI in Washington and Hong Kong; as a bureau chief in Manila and Nairobi; and as editor for Europe, Africa and the morning East based in London. This file is where big. This template for public service, from oil drilling in freelance journalist invoice washington dc public; and skilled trade on the invoice template yours, you may work? Vox free by all. He says its like some who attend are not there yet make a point, they are there a cause mayhem. President of Serbia and convicted war criminal, Slobodan Milosevic. Generate a template for target time. Endangered Species on and wildlife protections. As a freelance commercial writer, proofreader and editor, i practice your job easier freelance writing the company and eight more successful. Your visitors cannot display this state until the add a Google Maps API Key. Some cargo is easier to work than others. Verification is people working. The international radio news service period the BBC. Evan Sernoffsky is a reporter for the San Francisco Chronicle specializing in criminal intelligence, crime and breaking news. -
Listening Patterns – 2 About the Study Creating the Format Groups
SSRRGG PPuubblliicc RRaaddiioo PPrrooffiillee TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy LLiisstteenniinngg PPaatttteerrnnss AA SSiixx--YYeeaarr AAnnaallyyssiiss ooff PPeerrffoorrmmaannccee aanndd CChhaannggee BByy SSttaattiioonn FFoorrmmaatt By Thomas J. Thomas and Theresa R. Clifford December 2005 STATION RESOURCE GROUP 6935 Laurel Avenue Takoma Park, MD 20912 301.270.2617 www.srg.org TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy:: LLiisstteenniinngg PPaatttteerrnnss Each week the 393 public radio organizations supported by the Corporation for Public Broadcasting reach some 27 million listeners. Most analyses of public radio listening examine the performance of individual stations within this large mix, the contributions of specific national programs, or aggregate numbers for the system as a whole. This report takes a different approach. Through an extensive, multi-year study of 228 stations that generate about 80% of public radio’s audience, we review patterns of listening to groups of stations categorized by the formats that they present. We find that stations that pursue different format strategies – news, classical, jazz, AAA, and the principal combinations of these – have experienced significantly different patterns of audience growth in recent years and important differences in key audience behaviors such as loyalty and time spent listening. This quantitative study complements qualitative research that the Station Resource Group, in partnership with Public Radio Program Directors, and others have pursued on the values and benefits listeners perceive in different formats and format combinations. Key findings of The Public Radio Format Study include: • In a time of relentless news cycles and a near abandonment of news by many commercial stations, public radio’s news and information stations have seen a 55% increase in their average audience from Spring 1999 to Fall 2004. -
Episode 58: the Whole Shabang Air Date: May 12, 2021
Episode 58: The Whole Shabang Air Date: May 12, 2021 [in the field – at Lancaster State Prison, outdoors, voices chattering in the background] Mike Oog: My name is Mike Oog and I've been incarcerated twenty-nine years. Nigel Poor: OK, “The following episode of Ear Hustle…” Mike: [repeating after Nigel] The following episode of Ear Hustle… Nigel: “Contains language that may not be appropriate for all listeners.” Mike: Contains language that may not be appropriate for all listeners. Nigel: “Discretion is advised.” Mike: Discretion is advised. Nigel: And can you say where you're standing right now? 1 Mike: I'm standing in front of the program office at LAC, Lancaster State Prison. [strong wind picks up] Nigel: Oooh! Speaker 1: Watch your eyes! Oh yeah, [theme music comes in] that's a dust storm. [voices chattering in the background, reacting to dust and wind] We just got dusted. This is the Mojave Desert and we just got dusted. Nigel: Wow. That hurt. [as narrator, to Earlonne] Nigel: Oof, Earlonne, that was not like being at San Quentin. Earlonne Woods: Nah… I haven't been in heat like that in so long to where I forgot my hat. [Nigel laughs] Nigel: I know. But, OK, you didn’t have your hat, but you were dressed up that day. Earlonne: Oh! Any time I step back in a penal system, [Nigel laughs] I'm gonna be suited and booted. You know what I'm saying? I gotta inspire cats. Nigel: Right! Success walks back in, right? [Nigel laughs] Earlonne: Indeed. -
Curriculum Vitae
DAVID MANUEL HERNÁNDEZ 50 College Street Associate Professor, Mount Holyoke College South Hadley, MA 01075 Spanish, Latina/o, and Latin American Studies 424-832-0116 (2018 – present) [email protected] ADMINISTRATIVE POSITIONS 2019, SAW Faculty Director, Speaking, Arguing and Writing Center, Mount Holyoke College PREVIOUS POSITIONS 2012-2018: Assistant Professor, Spanish, Latina/o, and Latin American Studies, Mount Holyoke College 2007-2012: Assistant Professor, César E. Chávez Dept. of Chicana and Chicano Studies, UCLA EDUCATION University of California, Berkeley: Doctor of Philosophy, Comparative Ethnic Studies Conferred, December 2005 University of New Mexico: Master of Arts, American Studies M.A. Minor: Cultural Studies / Comparative Literature Conferred With Distinction, May 1997 University of California, Santa Barbara: Bachelor of Arts, Business Economics Conferred with High Honors, December 1989 AWARDS & FELLOWSHIPS • Mount Holyoke College Faculty Awards Kahn Liberal Arts Institute Faculty Fellow: Theme: "Refugees." Smith College, 2018-2019 Learning Communities Grant, National Endowment for the Humanities, Holyoke Community College, 2018- 2019 Nexus Curriculum Development Grant, Fall 2018 Speaking, Arguing, and Writing (SAW) Faculty Fellow, Spring 2018, Fall 2018 Meribeth E. Cameron Faculty Fellowship, Spring 2016 Faculty Research Grant, Spring-Summer 2013, Spring 2014, Spring 2015, Summer 2016, Spring-Summer 2017, Summer 2018 Arthur Vining Davis Professional Mentoring Grant (Mentor: George Lipsitz), Weissman Center for Leadership, -
Song/Casting: Combining Podcasts and Songs to Create a Hybrid Medium
Nate Sahr 1 Song/Casting: Combining Podcasts and Songs to Create a Hybrid Medium A Thesis Presented to the Honors Tutorial College, Ohio University In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Science in Media Arts & Studies By Nate Sahr May 2021 Nate Sahr 2 Table of Contents Abstract 3 Introduction – What is a Songcast? 4 The Hypothetical Songcast: Preliminary Research & Codification 9 Storytelling in Podcasts 10 Storytelling in Songs 12 Parasocial Relationships 14 Music 16 The Actual Songcast: Creative Process 17 Evaluating my Songcast 30 Conclusion 32 Bibliography 34 Nate Sahr 3 Abstract In my creative project and associated paper, I explore a hybrid medium, songcasting, that combines the most compelling elements of podcasts with the most compelling elements of songs. For the creation of this specific songcast, I interviewed 7 talented storytellers to capture audio recordings of them telling stories. From these, I chose a story about a Minnesotan teenager and his sister exploring Australia in 1979, and I built my songcast around it. This story explores coming of age, what it means to live in the modern world, cross-cultural relations, and more. The music and narration are carefully arranged and fused together to provide an immersive listening experience. While this songcast highlights the medium’s strengths, it is only one example of the many possibilities of songcasting. By synthesizing music, an emphasis on parasocial relationships, and the storytelling modes of both songs and podcasts, songcasts stand apart as unique audio format. Nate Sahr 4 Introduction – What is a Songcast? Imagine a spectrum: on one side of the spectrum is the color blue, on the other side is the color yellow.